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There is an increasingly varied and abundant flow of jazz from countries other than the United States nowadays. A good sample of this interest in music from any or every latitude was the last edition of JAZZMADRID. Its programme featured artists from Tunisia, Greece, Ethiopia and the island of Guadalupe. Polish bass player Kinga Glyk’s connection with jazz doesn’t go back all that far, mainly due to her age – she’s barely twenty – although its origin lies with her father, the drummer and vibraphone player Irek Glyk.
Kinga’s rhythmic and harmonic virtues were stimulated by an interest in all those popular expressions that were initiated by Jaco Pastorius and Stan Clarke. And there’s also an extra dash of rhythmic funk that the artist resolves with innovative intent. A number of talented musicians give structure to her current project, whose phonographic manifestation – the third in her career – lays down a striking sample of the diverse proposals she is able to unfold.
In her concerts, Kinga’s fingers pluck the strings in a deep, accurate and natural way. Filigrees fly from her like fragments of her own innermost self. She is such a prolific improviser that when she throws out a narrative, it always sounds obvious, even when you are aware of the complexity it conceals.
Bass: Kinga Głyk.
Drums: Irek Głyk.
Piano and keyboards: Tomek Bura.